VeneziaNews :venews

  • Venezia News
  • Venezia News
  • Venezia News
  • Venezia News
  • Venezia News
  • Venezia News
Home arrow CINEMA arrow [VENEZIA74] Iranian director Ali Asgari presents his "Disappearence"
[VENEZIA74] Iranian director Ali Asgari presents his "Disappearence"
di Chiara Sciascia   


An Iranian filmmaker at his first feature film, Ali Asgari lives in Rome, where he moved to study cinema several years ago. His shorts More than Two Hours (2013) and The Silence (2016) have both been presented at Cannes. Venice saw his The Baby in 2014. His films have been screened in over 500 festivals worldwide and collected over 100 awards.


By reading about the plot, Disappearance follows the dramatic story of the couple we saw in your short More than Two Hours

It is, in fact, the same story. Since I ever started working on the short movie, I thought of it as a feature film idea that I could start to work on in scale. A longer story for those very characters was already developing in my mind as, in parallel, I developed my skills and gained the experience necessary to master a larger project.

When the personal becomes universal. The political message of your film.

In fact, I didn’t really want to make a political film, I consider it more of a social drama film. I am aware of the fact that works that touch social topics are inevitably going to raise political questions as well. However unintentionally, I must accept the fact that I cannot avoid politics altogether.

The great Iranian maestros, Kiarostami above all, got us used to rural landscapes and isolated countryside villages. You take us to the city.

Master Kiarostami and other directors were making films in a difficult time for the country. The war had only recently ended and I assume that this is the reason why they preferred to film in villages, away from large cities. The way I see Iran today is different: I see a country that changes rapidly and it clearly reflects on the younger generations. The digital revolution, in particular, is very noticeable and it has a profound impact on our lifestyle. Iranians used to live in a traditional way but now young Iranians are more and more informed about what happens around the world. Their lifestyle is closer to their European counterparts than it’s ever been. This is what I want to talk about in my films – I lived in that country and I saw all these changes as they were taking place before my eyes. It’s an ongoing process and I was affected by it, too. It’s important to understand this as you will see more ‘urban’ Iranian films in the time coming, cities that are getting more industrialized, they are changing and developing.



L’inverno è rigido a Teheran, e la notte buia e disperata per due giovani innamorati con un grave problema da risolvere. La corsa contro il tempo tra gli ospedali della città non dà risultati, nessuna struttura accetta di ricoverare la ragazza colpita da emorragia. I due si troveranno a far fronte all’emergenza da soli, continuando a tenere i genitori all’oscuro di tutto, mentre la loro relazione va sempre più incrinandosi./ Winter is cold in Teheran and the night is dark and desperate for two young lovers with a problem to face. A race against time to every hospital in town does little to help them as everybody refuses to take care of the girl, who is haemorrhaging. The two must face it alone and keep their families in the dark, while their own relationship falls to pieces. 



:agenda cinema